Rough Ride: A Chaos Novella Reviews & OpinionsSubmit Rough Ride: A Chaos Novella review or read customer reviews:
100 Reviews Found
Chaos is back (*Heart eyes) and I for one am THRILLED!!!I have been so missing the Chaos boys and their lady loves. I absolutely DEVOURED this novella in one sitting. What I love about these stories is the way these boys love. They do it unlike no others. Constant, diligent and fierce. Snapper is no exception to this unspoken rule of Chaos men and how they treat their old ladies. We saw this relationship forming in Walk Through Fire, ill advised by his brothers but happening all the same for is book gives us the down and dirty side to betrayal of (dirty)bike clubs and the harsh consequences. This book also gives us the protective, claiming side of a (good) bike salie has been hurt one too many times by a man of a club. Some emotional, others much worse. So the thoughts of anything more than a friendship with Snapper is all but out of the question.I love that she was as tough as any biker woman needs to be to handle being with this type of man. She really shined in this novella and became a new favorite to the apper... oh my he was a deep soul. I did NOT see him coming. He was a beautifully complex yet simple man who was Rosalie's perfect counterpart. She just needs to see it for herself. Patience flew out the window for Snapper and he was ALL IN!This was a sweet ride into Snapper and Rosalie's life as a ere is some serious foreshadowing coming at you AND let me tell you, you are NOT prepared for what happens by the end! This has been building since book one and we have been given the hint! Happy Reading~ Sherry
As K.A. series’ go, Chaos is my favorite. (If I’ve said that before about other KA series, I mean it this time!)‘Rough Ride’ is the novella of Rosalie and Snapper and their story paralleled the events in the Chaos series. I’m afraid to say too much about the plot for fear of spoiling this and previous books. These characters were clearly in love and were filled with passion. Their ride was rough, how they came to be a couple wasn’t easy. But once they were freed from the anguish, and the past, their union was beautiful!I love Ashley’s bikers. They are bad a$$. They are loyal. They are protective. They are sexy. Their women are bad a$$. They are independent. They are loving. They are sexy. And when you put those qualities together you get a sizzling romance!If you haven’t read the books in this series, I think it would be best to read them first. Because even though I have, it was a while ago and I was lost sometimes with events mentioned in this novella. Which means a re-read of this series is in order!The ending of this book let me with my jaw open. It wasn’t necessarily a cliff-hanger as much as tonic without the gin. And a girl needs her gin! I need the rest of my drink, now!
Wow. So Kristen Ashley is my favorite author. I love her and her books huge. You will love Rough Ride. I will not give any specifics away because you want to read this for yourself. I will tell you that you will love Rosalie and Snapper. You will love all things Chaos. You will still worship Tack and Tyra, love High and Millie, love Hop and Lanie, love Joker and Carissa, love Shy and Tabby. You will love Rosalie's mom Renae. You will also love the special surprises KA throws into Rough Ride. If you have read KA's newsletter with her short story of her visit to the Chaos compound then you know to brace. Rough Ride is a novella so it is a quick read, but there is so much that is packed into it that you will run the gamut of emotions. At least I did. If you love Chaos then you must read Rough Ride. Then we all must wait until July for Hound and Keely's book.
Can't wait to read the next chapters. Lots of foreshadowing at the end of Rough Ride of the turbulence ahead for Chaos. Enough to make me afraid for the future of Chaos, but just have to trust KA to bring us all through it to that happy rilled to see that there was a bonus teaser to the next story of Hound and Keely at the end.
I devoured this as soon as I could! I laughed and I cried as KA always makes me feel every single word with her amazing writing. I know some had reservations about a Rosalie story, but I thoroughly enjoyed it. She was lost, searching for a home and sense of rightness, just in the wrong men. Then along comes Snapper, who quietly, but steadily steers her there in the signature KA alpha hot bunch man way. The epilogue just has me salivating, impatiently waiting for what's next in the land of Denver and Chaos. Rock on!
I'd be bad meat – pretty well rotted to a glob. Ride with the Devil is directed by Ang Lee and adapted to screenplay by James Schamus (also producer) from the novel "Woe to Live On" written by Daniel Woodrell. It stars Tobey Maguire, Skeet Ulrich, Jeffrey Wright, Jonathan Rhys-Meyers, Simon Baker, James Caviezel and Jewel. Music is by Mychael Danna and cinematography by Frederick Elmes. "On the Western Frontier of Missouri, the American Civil War was fought not by armies, but by neighbours. Informal gangs of local Southern Bushwhackers fought a bloody and desperate Guerrilla war against the occupying Union Army and pro-Union Jayhawkers. Allegiance to either side was dangerous. But it was more dangerous still to find oneself caught in the middle" Made for $38 million and intended to be a sweeping epic for the summer blockbuster crowd, Ride with the Devil was a considerable financial flop. With a limited release both in America and abroad, the financial figures are hardly surprising. More so considering it was given next to no promotion by the distributors. Factor in a little controversy about the events featured in the story, some cuts made by the studio (Lee didn't have final cut) and a delay in home release formats because the distributor incredibly wanted Jeffrey Wright's presence removed from the cover art! Well you would be forgiven for thinking that the film has to be something of a stinker. Not so say I. Part rites of passage drama, part reflective war movie, Ang Lee's film is a grand film viewing experience. Dealing as it does with the often forgotten part of the war down on the Missouri/Kansas border, where Lee also shoots on location, film manages to be both savage and lyrical in equal measure. The savagery comes with the fights, bloody, frenetic and high on potency, while the lyricism comes with the human relationships, internal conflicts and the political awareness of the men (boys) fighting for their cause. All given deft treatment by Schamus, whose screenplay contains crisp period dialogue and a narrative correctly showing that this part of the war was not just driven by racist Dixie's hell bent on revenge, violent lust and political allegiance, but often for family, land and rights. Picture is at pains to let us know the youth of the main characters, ramming home the point of boys forced to become men, killing machines, very quickly. Case in point, the culmination of the violence in the film that comes by way of the Lawrence Massacre, a tragic and upsetting slaughter that saw 180 people murdered under the leadership of a vengeful William Quantrill (John Ales). Lee and Schamus aren't interested in showing heroism in this particular war, they show it as futile, nasty and it leaves the taste of bile in the throat. From here the film slows considerably, as the lead characters withdraw from the action of war, to awakenings and friendships forming. It's here where Lee is at his best. No great director of action, as evidenced by the previously mentioned Lawrence Massacre; which lacks the cutting edge to really grab us by the throat and never let go, but for human interest aspects and bucolic scenes with characters framed within, Lee owes film fans absolutely nothing. The latter of which he is aided considerably by Elmes' widescreen photography. Ulrich and pop star Jewel nicely handle their parts, he puts a confident swagger into Jack Bull Chiles, she is tender and unassuming in the pivotal female role of Sue Lee Shelley. Caviezel gives Black John Ambrose a brooding menace, while Jonathan Rhys-Meyers is on overdrive as sadistic loony Pitt Mackeson. But it's with Maguire and Wright that the acting plaudits go. Maguire has arguably never been better, he gives Jake Roedel an effective sensitivity as a virginal boy receives a violent initiation into manhood. Wright is sublime, said to be one of his favourite performances, Wright as freed slave Daniel Holt is the heart beat of the film. Conveying most of the good traits available to man, Holt fights not just out of loyalty to his friend George Clyde (Baker), but to gain ultimate catharsis in is life. It's a beautiful measured turn from Wright, and it deserves more appreciative attention. The last third of it may be too talky for some, and a couple of dangling narrative threads left unanswered stop it from being a masterpiece. But it's close to being just that, a savage, beautiful and lyrical movie. The stupid studio execs had no idea: Putz's. 9/10
In the past year or so, I've made a determined decision to get more accustomed to pre-1970's films from around the world, particularly genres I've previously given short change to, such as musicals, war films and westerns. I have to admit it's greatly enhanced my appreciation of cinema in general. It's amazing how great some of these films actually are. Since cinema is the greatest love of my life, I also collect books on film, trying to find out anything and everything I can. As the old Calvin Klein commercial goes, 'A man has many loves, but only one Obsession'. An unexpectedly great and relatively inexpensive find was 'The Editors of American Cowboy's The Top 100 Westerns of All Time,' from 2011. Looming at #52 was this, and its write-up sounded intriguing, so I've always kept my eyes open for it. Sure enough, last month I saw a Randolph Scott Westerns 6-pack for a very low price, and I pulled the trigger (pardon the pun). This was exceptional and clearly deserves its lofty status. There is so much action, intrigue and beauty jam-packed in Burt Kennedy's script for this 72 minutes. Every shot is finely composed and exquisitely filmed. I dare you to find a better supporting cast. Sure, the four-hour epics by the Sir David Leans and Victor Flemings out there are great, but I'd rather see a simple story, brilliantly told than the gluttonous two-to-three-hour pieces of self-important crap you find these days. Let that be my epitaph. I was so close to even giving this a perfect grade. It's honestly THAT good.
Whose shoes would you rather be in? The Ride Back is directed by Allen H. Miner and written by Antony Ellis. It stars Anthony Quinn, William Conrad and Lita Milan. Music is by Frank De Vol and cinematography by Joseph Biroc. Sheriff Chris Hamish (Conrad) tries to extradite popular gunfighter Bob Kallen (Quinn) from Mexico to stand trial for murder in Scottsville, Texas. A good and meaty psychological Western that is more interested in exploring the two main characters than merely portraying a good versus bad parable. The sheriff and the gunfighter must travel through dangerous Apache territory and quickly find themselves up against the odds. As the two men continue onwards they naturally bicker and Kallen obviously wants to escape, but surely they must work together to survive? As they learn about each other and come across a dreadful scene that finds them in the company of an orphan girl, the film plays its hand as the characterisations switch in tone. It's a very understated picture, sombre in mood in spite of the beautiful outdoor locales. Dialogue is sparse so there's no pointless filler, while the Apache threat is not forced, we only get glimpses of them and they become more threatening by just being ghosts out in the terrain. Conrad and Quinn make for a good polar opposites pairing, the black and white photography of Biroc (Run of the Arrow/Forty Guns) is crisp and tight to the mood of the narrative and Miner (being overseen by Robert Aldrich) directs in an unfussy manner. Actor Eddie Albert warbles the title song. As a formula it has been done better elsewhere, as with 3:10 to Yuma released the same year, but this is a better than average entry into the psychological Western pantheon and it deserves to be better known. 7/10
The Deepwater Dimwits. Riding Shotgun is directed by Andre De Toth and adapted to screenplay by Thomas W. Blackburn fro the story “Riding Solo” written by Kenneth Perkins. It stars Randolph Scott, Wayne Morris, Joan Weldon, Joe Sawyer, James Millican, Charles Bronson and James Bell. Music is by David Buttolph and Warnercolor cinematography is by Bert Glennon. Before he would make the Western movies with Budd Boetticher that would define him as a Western movie legend, Randolph Scott worked tirelessly in the genre. He would make 6 films with Ray Enright and 6 with Andre De Toth, all of these are good value for the Western fan. They vary in thematic quality, but production value was always decent and there was always Randy at war with some gruff or poncey bloke, nice location photography and of course some gorgeous ladies as well. That’s enough for genre fans who happily take these movies on their required terms. Anyone else got anything to say? Riding Shotgun has Scott as Larry Delong, a man who spends his time “riding shotgun” as a stagecoach guard. He has an ulterior motive, though, he’s constantly on the look out for a known outlaw, Dan Marady (Millican), and he wants him dead. Sure enough Malady is about the place and Larry falls into a trap and finds things spiralling so out of control, that by the time he manages to get back into town, practically everyone hates him and thinks he’s part of Marady’s murderous gang. Hate makes a man careless. Cue a scenario where Delong, who has been wonderfully providing us with a film noir like narration throughout (love the wry David and Goliath observation), literally has to make a one man stand against the dimwit townsfolk and also Marady and his henchmen who are fronted by twitchy gun Pinto! (Bronson). It clocks in at under 75 minutes, it’s brisk, it has Scott [email protected]#$% big time and it looks lovely (unsurprising with Glennon photographing). Is it flawless? God no! There’s some distinctly below average acting around Scott (Morris/Millican), while Fritz Feld as the Cantina owner (erm, called Fritz) where Delong holes up, is annoying in the extreme. While as radiant and perky as Joan Weldon is, she’s no actress capable of grabbing a scene and shooting electricity through it. But this type of Scott Oater is comfort food to genre fans who once in a while like to down pistols and relax away from the more serious genre fare. 7/10
Welcome to Bottleneck. Deputy Tom Destry Jr. (James Stewart) rides in to Bottleneck and sets about ridding the town of its riff-raff elements - without guns! Based on the novel by Max Brand, Destry Rides Again simultaneously spoofed the Western genre whilst reinvigorating Marlene Dietrich's flagging career. At first glance it seemed an odd casting choice to choose Dietrich as the bawdy saloon chanteuse, Frenchy, especially since Paulette Goddard was originally cast for the role. But it really comes off, where Dietrich's loud and brusque portrayal perfectly plays off of Jimmy Stewart's laid back and gentle mannered Destry performance. The role of Destry is tailor made for Stewart, his everyman charm sits perfect for a character who is at first painted as a wimp, he drinks milk - he carries no guns, but who better than Stewart to fully realise a character that uses brains over brawn to great effect? A film of this type, though, is only as good as its villain, and thankfully Brian Donlevy steps up to the plate with a suitable grumpy sneer, it's a fine performance from a very undervalued performer. Directed by the highly experienced George Marshall, Destry Rides Again is chock full of the elements that make a good family film even better than it should be, jokes a plenty, goodies and baddies, songs and quality slices of drama, all combine here to make this a very entertaining and rewarding picture indeed. While for those into girl power really need to check out the ending of this picture for sure. Little Joe, Little Joe... 8/10
This was very interesting and I enjoyed it significantly. It's weird watching very early James Stewart--he's not what one would consider a conventional romantic male lead--and this is a very bizarre Western/comedy/musical. Anything starring Dietrich of this vintage is priceless, no doubt. Very weird, especially considering America's ever-present right-to-bear-arms controversy, watching a film like this, too. A purely magical film that's essential to own and re-watch for any Stewart, Dietrich or Western enthusiasts--and a strong reason why 1939 was the greatest year ever for American cinema.
I love the board game version of this game and have introduced it and this digital version to my friends. I used to be able to play this game on my mobile with no issues, but now, I am unable to even log in. A list of my Google accounts is shown, but I am unable to log in to any of them. 💔 Please fix the issue soon! 😔
I love the app version of this game. I use it to practice before playing the board game with friends. Only one glitch: when too many cards are drawn leaving only wild cards (locomotives) there is a loop counter for when you have to display three or more locomotives, but there isn't anything to protect against having only five locomotives in the draw pile after one non-locomotive card is drawn. When that happens, the game doesn't know what to do, and gameplay can't proceed because there are no legal moves remaining.
I've only tried solo play and pass and play thus far, and it works great. I'd love the game even more if there was a way to disable the "it's your turn" messages. They're annoying and distracting; I know it's my turn, I just want to think for a moment! Also, the AI seems to favor train card hoarding, and it's not fun to have nothing but locomotives in the deck because 4 AIs have taken everything else. I also wish the AI opponents learned to build stations on the Europe map.